CD Review: The Bridges of Madison County

You don't need to get much further than about 5 minutes into the cast recording of The Bridges of Madison County to understand why Jason Robert Brown won the Tony for Best Orchestrations.  And you don't need to go much further than about track 5 to understand why he won the Tony for Best Score.  By the end of the whole thing, you might be scratching your head, like so many of us - including, reportedly, some Tony voters - as to why this piece wasn't even in contention for the Best Musical prize. Whether it would have won is another matter altogether, but the great news is that this magnificent score, with the superb original Broadway cast singing it, and its stunning orchestrations has been preserved on a thoroughly excellent recording.

Grade: A+ (Review continues below)

Title: The Bridges of Madison County

Artist: The Original Broadway Cast 

Label: Ghostlight/Sh-K-Boom

Format: Single CD

Case: Single Jewel Case

Booklet: Full color, 30 pages.  Complete lyrics and plot synopsis. Production photos by Joan Marcus.  Liner notes by Jesse Green, Marsha Norman and Jason Robert Brown. Produced for Records by Jeffrey Lesser and Jason Robert Brown.  Executive Producer Kurt Deutsch.  Co-executive Producer Music Theatre International.

THE FOUR REASONS YOU NEED TO HAVE THIS RECORDING

4. The orchestrations and vocal arrangements. As I mentioned earlier, it is very clear why Mr. Brown went home with the orchestrations prize on Sunday.  But it is especially wondrous to hear this score rendered by a mere nine musicians.  It is to his credit that this relatively small ensemble creates such a huge, lush sound.  His use of pastiche and motif to represent different characters is masterful, and when two (or more) characters come together, it is astonishing how easily the style mesh.  Doesn't it take guts, too, to have no orchestrations at all and just let your words take center stage? There is also great work here, vocally, with the ensemble often acting as musical support - just listen to their work in the very first number.

3. The supporting cast is terrific. The talent of this cast really encompasses everyone involved.  The supporting cast is uniformly good, and their performances translate well to this recording - Derek Klena comes off even better here than when I saw him.  The homespun humor and compassion of Cass Morgan and Michael X. Martin are great fun in "Get Closer" and "When I'm Gone," respectively.  Hunter Foster also shows off a nice range in his numbers, including "Something From a Dream."  And, as in the theatre, Whitney Bashor's "Another Life" is a highlight of the album.

2.  Steven Pasquale.  I am still shocked by his lack of Tony recognition, and he is so superb on this recording that the omission angers me even more.  His gorgeous, easy-on-the-ears voice blasts through with a solid masculinity, and an aching longing that is palpable.  He makes the passion and romance of the situation clear, and it is hard not to fall in love with his Robert, just from listening to him.  Every song he sings is a highlight, really, but he particularly shines in "It All Fades Away."  And those duets... WOW!

1.  Kelli O'Hara. While she was definitely deserving of her Tony nomination, her musical interpretations here make her loss all the more mind-boggling.  Her clear as bell operatic soprano is brilliant, as is the emotional power she brings to each and every number she renders on this recording.  "To Build a Home" is already becoming a classic.  And then there are those jaw-dropping duets... when she and Pasquale let loose on "Falling Into You," and even more so on "One Second and a Million Miles," it is, as they say, musical theater heaven.

The whole thing, for me, was musical theater heaven, and I am so thrilled that this recording preserves it for the ages.

Jeff
5.191

Broadway "Take Aways" 2013-2014

Sitting with my mouth agape at the end of a show usually means I am stunned by what I see, and in the very best way.  Pippin, as a whole show, had me open-mouthed throughout.  But what I really remember from that is "The Manson Trio," Matthew James Thomas bare-chested in a moving cage, and the subtlety of Andrea Martin's Tony-winning turn. Sometimes, though, my jaw is dropped as the result of seeing something so stunningly bad, I can't believe what I've seen.  It is difficult to narrow down all that was so incredibly bad about Scandalous.  I'll never forget the cheap, huge and ugly set, or how much it didn't matter that Carolee Carmello was working her ass off.  But what I will forever take away from that show is how a boozy Kathie Lee Gifford schmoozed and worked the crowd before the show and during intermission, oblivious to the fact that they cleared the mezzanine in order to make the orchestra seat more full.

So what were my "take aways" from the shows I saw this season? Here they are, in the order I saw them.

• First Date: Zachary Levi oozing charm and talent from every pore.  The levitating restaurant check - I keep waiting for it to happen to me.  It never does. 
• Soul Doctor: The cheap wooden doors that looked like they would fall over every time someone opened them.  And the dancer that looked like Jimi Hendrix, who thought he was the star of the show.  He wasn't even close. (He's the guy in red, above.  See what I mean?)
• Big Fish: What a lousy part Bobby Steggert had!  And the river over the orchestra pit.  And the underwhelming daffodils.  Why were they the logo?

• The Glass Menagerie: Zachary Quinto from start to finish. Cherry Jones' accent. The adorableness of Brian J. Smith.  And Celia Keenan-Bolger's entrance and exit and everything she did in between. Oh, and the moon in the water...
• A Night with Janis Joplin: The light tubes that surrounded the stage. The woman who sang "Summertime" from Porgy and Bess.
• After Midnight: The guys who danced unison very close together.  And Adriane Lenox killing it every time she took the stage.

• Twelfth Night: The cast getting dressed before the show right below me (I sat on stage).  Paul Chahidi being an amazing woman. Mark Rylance gliding around the stage.  And Samuel Barnett being simply amazing in every way.
• A Gentleman's Guide to Love and Murder: How perfectly the set fit the show.  The door scene.  And the very funny chorus numbers that were too short.
• Beautiful: That Carole King skipped two grades and graduated high school early.  The moo moo that Jessie Mueller opened and closed the show in.  And what a waste of potential for an interesting story about a living legend.

• The Bridges of Madison County: The stunning score, conducted that day by a passionate Jason Robert Brown.  Kelli O'Hara in a bathtub, and later a slip.  Steven Pasquale's body, and singing a long section of a song a capella, and his body.  And watching Derek Klena shoveling fake (I hope) shit.  (From that list, you might not guess that it was my favorite musical of the season, but it really was.)
• Rocky: The noisy sets, as seen from the best seats I have had in ages.  Witnessing the birth of a star, Margo Seibert. Andy Karl finally becoming the star he was meant to be.  And how small the stage is when you are on it.  (I bet you thought I'd talk about the final scene.  That goes on a list of All Time Take Aways!)

For the rest of the season, click HERE.

Jeff
5.165

LOGOS: New and Improved Beautiful Bridges

Whether it is because a show is settling in for a long run and the logo needs some Times Square level sprucing up, or because the marketing needs some serious overhauling, most shows update their advertising from time to time for many reasons.  Even iconic logos get changed from time to time (I'm thinking The Lion King and Mamma Mia! and others).

Out with the old...

... in with the new

The show that looks like it is settling in for the long haul is Beautiful: The Carole King Musical.  Gone is the retro photo of Ms. King; in is Jessie Mueller as Ms. King.  Gone is the plain yellow (and not a flattering shade at that;, in is a similar, but much warmer shade with gold - nothing says success like gold in records or in shows.  Keeping things consistent is using the same title lettering and piano key "ledge."  Not a complete change, but a definite upgrade.  Grade: A What do you think?

What was...

...what is.

Another upgrade, but with more significant changes (needed, if they want bigger audiences), is the new logo push from the folks at The Bridges of Madison County. Like Beautiful, the through line of consistency is in keeping the title part of the original show logo, which suggests a rustic mid-Western feel for sure, just like the show.  The significant changes are all for the better.  Gone is the barn wood look that could have been a covered bridge or an Iowa silo, in is a romantic blue, starry sky... vast except for a single tree - the very one the dominates the stage.  Gone is the photo of a laughing Kelli O'Hara and the scruff of Steven Pasquale; in is a much more romantic pose of the two - Ms. O'Hara in lovely slip, eyes closed, Mr. Pasquale nuzzling that sexy scruff into her neck.  Sexy, romantic and still familiar.  I hope it works - this show is too good to fold so fast.  Grade: A  What do you think?

What shows have gotten a logo overhaul that you loved?  Hated?

What show logos are in desperate need of a re-vamping?

Let me know!!

Jeff
5.138

Welcome to Broadway! New Faces of the 2013 - 2014 Season (Quarter 3)

Debra Messing

All season I've been celebrating all the talented, hard-working folks that are making their Broadway debuts!  During the first quarter (HERE) there were at least 59 debuts, and during the second quarter (HERE) there were at least 91 debuts!  This quarter (November 25 - February 23) didn't include as many new shows opening, but there were still 45 debutantes.  And among them were several high profile cast replacements including Fran Drescher and Carly Rae Jepsen in Cinderella, and After Midnight's special guest star, k.d. lang, plus my favorite gal in the new play Outside Mullingar , Debra Messing.  With so many shows opening in this last quarter of the season, there are bound to be a ton of Broadway debuts!

k.d. lang

Cinderella's Carly Rae Jepsen (top) and Fran Drescher (bottom, center)

Here's the Broadway Debutante Class of 2013 - 2014: Quarter 3! Congratulations to all of you!
(* denotes a pictured newbie)

Callan Bergmann     Ryan Dinning

Michelle K. Guy     Rebecca Hall     Molly Jobe

A - L

PERFORMER	SHOW
Ephie Aardema	The Bridges of Madison County
Stephen Christopher Anthony	The Book of Mormon
Whitney Bashor	The Bridges of Madison County
Ashley Bell	Machinal
*Callan Bergmann	Cinderella
Jeff Biehl	Machinal
Paige Brady	Matilda
Nick Cosgrove	Jersey Boys
Josh Davis	Beautiful: The Carole King Musical
*Ryan Dinning	Machinal
Deanna Doyle	The Phantom of the Opera
*Fran Drescher	Cinderella
Scott Drummond	Machinal
Charlie Franklin	The Bridges of Madison County
*Michelle K. Guy	Pippin
*Rebecca Hall	Machinal
A.J. Holmes	The Book of Mormon
*Carly Rae Jepsen	Cinderella
*Molly Jobe	Newsies
Jon Jorgenson	Mamma Mia!
Rebecca Lachance	Beautiful: The Carole King Musical
*k.d. lang	After Midnight
Sam Lips	Cinderella

Jason Loughlin     Sean Montgomery

Abby Mueller     Jeff Pew     Neil Starkenberg

L - Z

PERFORMER	SHOW
*Jason Loughlin	Machinal
Nathan Lucrezio	Cinderella
Luke Marinkovich	The Bridges of Madison County
Tevon McFerrin	Motown
Syesha Mercado	The Book of Mormon
*Debra Messing	Outside Mullingar
*Sean Montgomery	Matilda
*Abby Mueller	Kinky Boots
Madeleine Pace	Once
Ashley Park	Mamma Mia!
*Jeff Pew	Cinderella
Gabriella Pizzolo	Matilda
Ben Platt	The Book of Mormon
Sean Rollofson	The Phantom of the Opera
*Neil  Starkenberg	Mamma Mia!
Jay Staten	After Midnight
Yasmeen Sulieman	Beautiful: The Carole King Musical
Melvin Tunstall	Beautiful: The Carole King Musical
Ava Ulloa	Matilda
Jessica Vosk	The Bridges of Madison County
Michael Warner	Machinal
Tim Wright	The Bridges of Madison County

Jeff
5.122

REVIEW: The Bridges of Madison County

Review of the Saturday, January 25 matinee preview performance at the Gerald Schoenfeld Theatre in New York City, New York.  Starring Kelli O'Hara and Steven Pasquale, with Hunter Foster, Derek Klena, Caitlin Kinnunen, Michael X. Martin, Cass Morgan and Whitney Bashor.  Music and lyrics by Jason Robert Brown.  Book by Marsha Norman.  Direction by Bartlett Sher.  2 hours, 30 minutes, including one intermission.

Grade: A

I suppose I should preface everything I'm about to say about the new Jason Robert Brown musical The Bridges of Madison County with the following disclosures: first, I have never read the book upon which it is based; second, I've never seen the film version; and third, I saw a very early preview of this production.  Although I try not to read the message boards to see what people are saying, I have kept up with it marginally, to find out if any major changes were made.  I understand that the consensus is that the preview period has been used effectively to tighten things up.  All of that said, I have rarely seen a musical so early in previews that has been in such amazing shape.  Regardless of when I saw it, I can say that Bridges is an emotional, slyly thought-provoking musical.

Kelli O'Hara and Steven Pasquale

First things first, one must assess the book and score of a new musical, and I found both to be quite good.  Of the creative elements, the show's biggest asset is the romantic and devastating score by Brown.  His songs are wonderfully character-driven, with each having singular motifs and core styles.  The songs for Francesca are beautiful operatic arias, revealing a passion and European sensibility.  The songs for Robert are bold, soaring ballads that are also operatic, revealing an emotional and fully masculine passion.  Brown has also given a very American sound to the characters who are born and bred in the Midwest, with styles ranging from honky tonk to traditional country western to pop - they are all quintessentially American.  And Brown's orchestrations are among the loveliest Broadway has heard in years, full and lush.  Among the score's treasures are the absolutely stunning duets "Falling Into You" and "Before and After You/One Second and a Million Miles," and the clever "When I'm Gone," a duet for the two rural husbands that really advance the plot.  The beauty (and for some, the downfall, I'm going to guess) of this score is that each number so perfectly captures a feeling or event in the moment.  In a show that is really about one slice of life, such a tightly constructed score might come across as almost background music.  I like shows that make me work for the pay off, and this one does just that.  It's not quite Sondheim, but it does remind me of a similar show of his, Passion.  

Hunter Foster and Kelli O'Hara

Pulitzer Prize winner Marsha Norman has crafted a mostly tight script that uses words economically, with just about every sentence revealing character, theme and, often, heart-on-your-sleeve emotion.  There are certainly types at work here - the hard-working, slightly gruff farmer, a pair of unhappy teens struggling to get out of the rural prison they think they live in, and a pair of long-loving neighbors - she a nosy gossip; he a weary-of-hearing-it pragmatist.  And, of course, the central couple - she a loving wife and mother who longs for the life she once knew, and maybe what she thinks she's missed; he the mysterious outsider visiting small town America, just another stop on a world tour of photography for National Geographic. He sees the world and wrestles with settling down; she is stuck in the middle of nowhere and wrestles with finding a way out.  But Norman, who has created full characters that aren't really in the book (I'm told), has more than a few surprises up her sleeve.  None of these types are without their twists.  I won't give them all away, but I will give an example: it was a very pleasant "a ha moment" when the nosy neighbor comes through for her friend in a nice way that is surprising, but not out of character, revealing a moment of depth for what comes across at first like just so much comic relief.  Perhaps the only things I might like to have seen changed (and they may have been) are the tightening of the start of act two, a song and dance number at the State Fair, which feels like it was stuck in to make a production number.  (I hope to go another 30+ years before having to watch a Broadway actor carefully shovel fake (or real!) cow manure while singing a song and acting a scene.)  And I hope some work has been done to deepen the character of the angst-filled teenage son with growing pains.

Technically, the show is aces, too, with each element working to create a specific time and place, while keeping with the show's themes and the directorial style of the production.  As usual, Catherine Zuber's costumes are character-specific without intruding on the proceedings.  I imagine it is, in some ways, more difficult to dress a cast in period street clothing than in lavish, over-the-top Broadway productions.  Donald Holder's lighting is equally unintrusive, while still helping to paint the stage with emotional pools of light and evocative shadows.  Jon Weston's suggestive set pieces and use of the full expanse of the stage are perfectly in keeping with the small cocoon of a single Iowa farm house, while also providing for the vastness of the prairie.  All of these elements are superbly rendered in light of the directorial vision of this piece.

Bartlett Sher's direction is both theatrical and grounded in realism, with nods to both Oklahoma!, and even more so Our Town (right down to the umbrellas).  It makes sense that the more theatrically staged sections of the show are all to do with the central romance, while the more realistically staged scenes are given over to the comings and goings of the community that surrounds the romance.  It gives me chills to recall Sher's use of the ensemble as observers of the action as they sit still in chairs placed on the sides of the stage, and as stage hands as they ethereally weave in and out of scenes (many as they are in progress!), moving set pieces and various props.  The show also features one of the most beautifully rendered scenes that combines all of the elements, when Francesca remembers her past in Italy.  It brought to mind the equally engrossing staging of the Count Ludovic/Fosca's past flashback in Passion.  I always love a staging that does things that can only really be done live that never forget the themes of the story.  This gorgeous staging is the antithesis of Sher's manic, fussy staging of Women on the Verge.

Derek Klena and Caitlin Kinnunen

Whitney Bashor has the unique assignment of playing important women in the lives of both Francesca and Robert - the sister of the former, the ex-wife of the latter.  Her time as both is brief, and yet she makes a great impression.  Her solo number, "Another Life," has her singing in a bar as Robert's ex-wife in the past, which comments on the action of the present.  The effect - and the song - are thrilling.  I am already looking forward to seeing what this talented young woman does in the future.  As the teen-aged siblings of Francesca, Derek Klena and Caitlin Kinnunen offer a mixture of angst and maturity.  I hope Mr. Klena toned down his performance, which verged on scenery chewing at the top of the show, but was much more subtle as his character aged.  On the other hand, Miss Kinnunen has crafted a surprisingly rich performance as a driven, but pressured young lady; it is surprising only in so much that she doesn't have a ton of dialogue and only parts of a couple songs in which to create her character.

Cass Morgan and Michael X. Martin

The neighbors are mostly used as comic relief, and as such Michael X. Martin and Cass Morgan are aces.  Both are so skilled that they both know how to make the most of characters we easily recognize while infusing them with so much more than stereotypes.  That ability makes the payoff of both characters' final twists all the more satisfying and completely believable.  Hunter Foster seems to corner the market on gruff war veteran Mid-Westerners these days, and he does pretty well here, creating a challenging enigma of sorts as Francesca's unsuspecting husband.  He easily conveys all the reasons why you can understand his wife's dalliance with another man, and cunningly draws you in enough to realize why things end up in their marriage the way they do.

Steven Pasquale

The mysterious stranger, Robert, that has the town a-buzz, as played by Steven Pasquale anyway, is mysterious less for being a stranger and more for the quiet, brooding facade that covers a lonely and passionate man.  The guy oozes enough sex appeal to validate the spark-filled attraction here, but it is his slow doling out of feelings that is seductive.  When he finally begins to open up, you can see exactly why these two fulfill each other's needs.  It is to Pasquale's credit that that relative subtlety doesn't get lost in the soaring power ballads and operatic duets of the score.  His voice is powerful, not just in the money notes, but in the quiet moments, too.  At one point, he breaks into a lengthy a cappella song intro that gave me goosebumps.  It is even more to his credit that his half of the chemistry between Robert and Francesca is as compelling as hers - no small feat considering the powerhouse he is up against.

Kelli O'Hara

Kelli O'Hara will likely have her fifth Tony nomination, if not her first Tony, with this rich and emotionally powerful turn as Francesca.  A wonderful mix of strength and vulnerability, of vitality and world-weariness, Ms. O'Hara delivers the best leading lady performance in recent memory.  Each line, each lyric - each pause, even - is so beautifully rendered you simply cannot take your eyes off of her, and your ears will be in Heaven, so gorgeous is her voice here.  Every time she opens her mouth you are riveted.  Her quiet moments of introspection are satisfying, her frenzied moments of doubt are compelling, and her romantic moments are so satisfying, you can't help but fall in love with her, too.  When Francesca finally gives in to Robert's advances, and you witness their fireworks, it is immediately apparent why O'Hara and Pasquale were cast.  Broadway hasn't seen a powerful couple like this in some time.

Everyone involved has created a slice-of-life show that demands your attention and your own participation in seeing every nuance of a complex community/family/romantic relationship.  The message is simple, but like in life, understanding that takes some effort.  It seems no matter how isolated you feel, the chance for something bigger may just come into your life and change you forever.  Not bad for a Broadway musical.

Photos by Joan Marcus

Jeff
5.113